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Digital::Nimbus will host a ticket giveaway for this event each Friday night (11/12, 11/19 and 11/26) at
KUCI 88.9 FM (Irvine, CA + Streaming) from 12-3am (PST). If you’re in the Los Angeles (and surrounding) area, are over 18,
and would like to enter this drawing, email [email protected] with your full
name and email address (Subject: E.L.M. Ticket Giveaway). The winners will be randomly selected *LIVE* on-the-air and contacted via email. All entries will also be added to
the Digital::Nimbus mailing list. Tune in to find out if you won!
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Manchester, England’s Jega moves from fidgety electro beatitudes
to moody atmospheric introspection. With increased mastery of his
equipment. Jega is just one man, Dylan Nathan, an architecture-school
classmate of Richard James (Aphex Twin) and Mike Paradinas (U-ZIQ).
He shares with them many of the same musical concerns, but didn’t
get around to releasing his work commercially as quickly as they did.
He released his first EP in 1996 on Skam (original home to Boards
of Canada), and in 1998 released Spectrum on Paradinas’s Planet-Mu
label (and, later, Matador). Spectrum was a jarring view across the
landscape of electronic music, more rollercoaster than Sunday drive,
resulting in the cloying label “drill n bass.” In contrast, Geometry flows
smoothly and more melodically from vista to vista, merging staccato
808 rhythmic workouts, digital swing, analog atmospherics, jittery
electro-hop, and myriad other sounds into a dark and rather melancholy
work. Dylan is also a licensed pilot, BMX fanatic, computer hacker,
and a professional animator.
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Appropriating their name from (probably) the first culture of the Old
World to explore the New, Phoenecia, aka Joshua Kay and Romulo
Del Castillo, was inaugurated in Miami, Florida, USA in 1997. Phoenecia’s
recordings echo the phenomena in the slow contemplative way the
music evolves, experimental techno rhythms emerging from strangely
glutinous sounding electronic textures. Initially overtly influenced by
Warp Records’ duo of wayward electronica trailblazers Autechre and
the Aphex Twin, Phoenecia received early acclaim for Randa Roomet,
a superb 12-inch double pack for the same then Sheffield, England-based
label. On their subsequent self-released album, Kay and Del Castillo’s
inspirations were more heavily submerged and less readily identifiable.
The duo themselves asserted dub – or at least dub’s studio methodology
– as their main creative precursor. Certainly, Kay and Del Castillo
draw from dub’s impulse to experiment with noise. The pair previously
recorded under the Soul Oddity moniker, releasing an album and a
series of 12-inch singles for the US major label Astralwerks. Kay and
Del Castillo’s subsequent own avant electronic label Schematic was
reportedly initiated after Astralwerks staff “used the word ‘no’ too
often” in conversations with the duo. Their Miami-based label has
issued tracks by artists such as Otto Von Schirach and Delarosa And
Asora as well as Phoenecia remixes by electronic music illuminati
such as Richard Devine, Autechre, Ectomorph, and Push Button
Objects. Kay and Del Castillo also notably record independently of
each other under the respective alter-egos of Jeswa and Takeshi Muto.
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Currently on tour with Skinny Puppy, deafening audiences and
defying protocol, Otto Von Schirach returns in ’04 with a freshly-lubed
full-length to give electronica another ghetto suppository. The follow
up to 2002’s Chopped Zombie Fungus (Schematic), Global Speaker
Fisting is from the underground’s underground: it’s the twenty-eyed
electrified monstrosity living in the darkest, deepest sewers of the
hardcore avant-garde. Moving from death metal send-ups to plagues
and biotech disasters, Von Schirach’s fourth album is easily his finest
and most accomplished record to date.
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Ken Gibson (Eight FM) explores the boundaries of sonic bliss, scaling
and shaping sounds, creating erratically cohesive streams of audio
and data subjected to his fondling fingertips. Rhythms are sculpted to
the point where time signatures are indistinguishable and irrelevant.
His dedication to the re-engineering of sound results in him seldom
venturing far from his studio, but he uses this self-imposed cabin
fever to his advantage, by creating a hybrid of sound that can bounce
from giggling mania to panicked oblivion, while never losing the listeners
interest.
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For the curators of E.L.M., time exists only as a measure of one’s
creativity. Their concepts aren’t about size, profit, or notoriety.
They create because they love it, they promote because they
believe in it and the only rule by which they govern their own
artistic success is to remain infinitely challenged. With the help
of p a x, and the kindness of many close and dedicated friends,
the Experimental Liquor Museum (E.L.M.) continues to give hope
for a musical future in a world wrought with epic trance anthems
and hollow glitz hop.
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